In This Issue: the Wrightmann Collection 01 Graffiti: Cat Or Mouse? 02 News, Events & Workshops 02 at the Galleries 03 Discover Map 04 Reviews 06
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Issue 23 Exhibitions Ōtautahi www.artbeat.org.nz November 2020 Galleries Christchurch Studios Waitaha Street Art Canterbury Art in Public Places ARTBEAT In this issue: The Wrightmann Collection 01 Graffiti: Cat or Mouse? 02 News, Events & Workshops 02 At the Galleries 03 Discover Map 04 Reviews 06 The Wrightmann Collection: An All-Encompassing Perspective of Art in a Post-Quake City It is a private art collection of nearly 1,000 works → Marian Magu- that began its life as the two separate collec- ire, Titokowaru’s tions of Selene Manning and Anthony Wright. Dilemma: Curio from the Colo- Housed in their two-storey home designed by nial Era, 2011, Athfield Architects, The Wrightmann Collection lithograph will open for a one-evening fundraising event, 19 November, for SCAPE Public Art. →→ Chris Heaphy, The Wrightmann Collection maps a recent Poroiti, 2012, history of the visual arts in Ōtautahi Christ- acrylic on linen church that is exceptional. From 2007, Manning and Wright have added to their earlier collec- tions of botanical art and contemporary works by prominent artists from Aotearoa with the addition of literally hundreds of works by local emerging artist acquired after February 2011. Wright maintains, ‘the earthquake changed everything.’ They visited and purchased works from new and existing galleries and pop-up exhi- bitions, visiting spaces that included ABC Gallery, Artbox, Dog Park, North Projects, Outer Spaces, Room Four and The Auricle, with Ilam influenced by, mentored by, and in conversa- Campus Gallery also a priority. ‘We were going tions with established artists all the time. What out to almost all of their exhibitions, so we got impresses me is how easily the work of an art to know the students really well over a period of student - or a self-taught artist for that matter - can Printmaker, Marian Maguire’s three series that tells you - you can’t live without it.’ of lithographs from 2005 to 2011 that raised- ‘Elizabeth Moyle’s latest oil painting, four to five years. They became friends. In the sit and hold its own energy and voice amongst the Memories Surface eight or nine years after the earthquake, up until works of more established artists.’ questions about the ancient Greeks and , which we purchased from when our house was built we more than doubled Wright also maintains that they would never European colonisation of the Pacific are also Chambers Gallery is exactly like that. Wow, this the number of works in our collection.’ buy a work simply to support an artist. ‘It is about a favourite. An important suite of works, Wright is Lizzie now. This is so different to our previ- Manning observes that they both made ‘a very loving the work. It’s that instant resonance thing; describes as deserving of a place in any public ous works of hers, and then you start to try and conscious decision after the earthquakes; do we and the artists that we are really passionate gallery’s collection. unravel why. She uses plywood in a way like stop collecting and wait until we have bought or built about we have followed and followed. You pick In many instances the artists have recip- Sam Harrison does to amplify what they are a house and settled with insurers? Or do we carry up some and stay with them.’ rocated their support for Manning and Wright. doing. What they are saying? What they are on supporting artists and adding to the collection? And there are many works in their collec- ‘Some artists have been incredibly generous painting and why are they printmaking? ' We decided that we would keep buying.’ tion that they discovered on first encounter to us, gifting works and little things that are Manning says that humour is important as “thank-yous” - even thank you cards. My first of well - along with the pushing of people’s comfort ‘Aside from the fact that quite a few of the ↓ were impossible to say no to. Chris Heaphy’s early artists we collected are established now, the Elizabeth Poroiti, 2012 is one of those for Wright. ‘It was the latter was Joanna Braithwaite sending me zones. ‘Art has such a large role to play in society. Cow scattering of really established works through the Moyle, , an instant hit. I got butterflies when I saw it at a card that had the most gorgeous painted eye, It is not only ‘pretty’ or ‘comfortable’ or ‘easy to 2007, woodcut which is now framed.’ access; art also needs to reflect human complex- collection allows a bigger conversation between print on paper, Jonathan Smart Gallery,’ [which in 2012 was at all the works. Emerging artists are taught by, embossed Neil Dawson’s studio on England Street, Linwood.] Manning says that it was a very conscious ity, playfulness and rebelliousness (be it political, decision to support local artists. ‘There wasn’t moral/ethical or societal). This invariably intro- a lot of money around post-quake so people duces humour into an artist’s work, something weren’t really stepping up and spending. They we both enjoy and love to be surprised by.’ were trying to settle with insurers. We were To a certain extent, this accounts for the worried that local artists were going to move to substantial representation of Francis van Hout’s Wellington or Auckland. We were really keen to paintings in their collection, dating from The be part of the community that encouraged them Pink Terraces, 2013 to Conjunction Moon in to stay.’ 2020. Wright and Manning are keen to spread Among the many artists from this period the word, not only about van Hout, but all the supported by Wright and Manning were Mary- artists whose work they have collected. ‘If you rose Crook, Simon Edwards, Sam Harrison, Eliz- like something by an artist, no matter what abeth Moyle, Josh O’Rourke, Doc Ross, Sophie anybody else thinks - do not be afraid to buy Scott, Wayne Youle and Charlotte Watson. it. We tell people that Francis’ work is fantastic. How do they decide on a particular work When you love art you want to support artists.’ for their collection? There is an instant curios- ity says Manning. ‘It is an engaging desire, an The Wrightmann Collection unveiled. emotional connection and it is very strong. It is Anthony Wright & Selene Manning together the difference between just being happy to view with SCAPE Public Art. it and needing to live with it. There is a tipping Wrightmann House, 138 Bishop Street, point where you want to own it and you want to CHCH see how it was painted or drawn and you want Thursday 19 November 2020, 6–9pm. to dive into it.’ To enquire about tickets to this event contact Wright says that for him it is a ‘combination [email protected]. of the hair standing up on the back of your neck Tickets are limited and will be numbered as though you are in the presence of something for the opportunity to take home the Simon almost life changing. It creates an instant ache Edwards landscape Pathfinder. Artbeat Issue 23, November 2020 01 Cat or Mouse? writer Reuben Woods There is a memorable scene in the iconic 1983 graffiti documentary Style Wars in which then New York Mayor Ed Koch discusses his plan for wild wolves to patrol and defend the city’s subway train lay-up yards from graffiti writers. While it seems over the top, it highlights an extreme of the various approaches to graffiti deterrence undertaken by municipalities over the years, constantly exploring ways of eradi- cating the writing on the wall (not to mention the more bloodthirsty plans of public commenta- tors, who have been known to call for dismem- berment or worse). Responses to the problem of graffiti vandalism include the practical removal with swathes of grey or brown paint (a dubi- ous aesthetic improvement), surveillance of areas, restricted access to aerosol paint and even attempts to harness the creativity of artists in legal projects or spaces. Of course, graffiti is grounded in rebellious intent and thrives on existential challenges, and along with street art, tactical evolutions are constant; the anonymity of pseudonyms and changing identities, the intimate familiarity with targeted ‘spots’, and the portability of tools spring to mind. Graffiti continually reinvents aspects of its performance in counter response to the moves of authority. Admittedly, the Christchurch City Coun- cil approach has evolved over time, utilising more discretion and recognising the complex balancing act of the city’s ongoing recov- ery and new-found urban art’s reputation. ↑ will utilise an “algorithmic identification tech- to identify with certainty, especially with the stop imitation swaying from flattery to insincere To the unini- However, more traditional responses remain tiated, graffiti nique” to match“ graffiti images that show key tactical adaptability of graffiti writers. What or accidental incrimination? necessarily in place. can seem in- similarities.” would be considered a ‘key’ similarity? Wild- The point here is to raise the uncertain- I was intrigued when the Council recently decipherable, Programme manager Michael Healey style graffiti is almost indecipherable to the ties of such an approach and to suggest why it making the announced a new initiative to combat repeated recognition of proclaimed that: “With this new technology we uninitiated, intricate interlocking forms more has proven so hard to eradicate graffiti despite graffiti vandalism. The media release explained style confusing. will be able to connect a graffiti tag with an indi- concerned with the internal audience, often decades of attempts. Graffiti thrives on oppo- the plan to map and track graffiti across Christ- vidual or ‘crew’.” Essentially, stylistically details rendering stylistic traits variable.